
Eureka Entertainment – Masters of Cinema: Dziga Vertov (2014) Part 6. Enthusiasm: Symphony of the Donbass (1931)
English | Documentary | Size: 462 MB
“I am an eye. A mechanical eye. I am the machine that reveals the world to you as only the machine can see it.” – Dziga Vertov (Kino-Eye)
These words, written in 1923 (only a year after Robert Flaherty’s Nanook of the North was released) reflect the Soviet pioneer’s developing approach to cinema as an art form that shuns traditional or Western narrative in favor of images from real life. They lay the foundation for what would become the crux of Vertov’s revolutionary, anti-bourgeois aesthetic wherein the camera is an extension of the human eye, capturing “the chaos of visual phenomena filling the universe.” Over the next decade-and-a-half, Vertov would devote his life to the construction and organization of these raw images, his apotheosis being the landmark 1929 film Man with a Movie Camera. In it, he comes closest to realizing his theory of ‘Kino-Eye,’ creating a new, more ambitious and more significant picture than what the eye initially perceives.
Here are the four masterpieces by Dziga Vertov, pioneers of Soviet cinema, in new restorations, presented by Lobster Films, the Cinematheque de Toulouse (celebrating its 50th anniversary) and the EYE Film Institute (Amsterdam).
ENTHUSIASM / THE SYMPHONY OF THE DONBASS (1931) and THREE SONGS ON LENIN (1934), from the copies of the Cinematheque de Toulouse, reveal an unknown face of the Soviet Union and of the cinema of the time.
A reference box, to discover the work of a great master in luminous copies, such as we had probably never seen them. Man with a Movie Camera and Kino-Eye feature musical accompaniments by Alloy Orchestra and Robert Israel respectively, while original soundtracks have been restored for Enthusiasm and Three Songs About Lenin.
6. Enthusiasm: Symphony of the Donbass (1931) (66:21 min)
How the miners of the Don coal basin (one of the industrial regions of Ukraine) were striving to fulfill in four years their part of the Five Year Plan of the late 1920s. One of the first Soviet sound films, it represents Vertov’s radical attempt to link economic progress with the introduction of sound in cinema.
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